From Linear to Adaptive - How a Film Composer fell in love with Adaptive Music - Designing Music NOW
At the Game Developers Conference (GDC) in San Francisco, I was introduced to the adaptive music tool for game composers, Elias. They showed me the newly introduced MIDI capabilities, and I began to think about how it compared to other adaptive music systems I had learned, such as FMOD and WWISE. I was surprised to see a software 100% made for composers and had to check it out. I’m a classically trained film composer, who recently entered the game industry. The biggest struggle for a composer, whether he writes for film or games, is to figure out moments and moods and how to best portray them in music. Game composers have had to improvise and figure ways or preventing their tracks from sounding boring and repetitive. Middleware such as FMOD and WWISE were a great start down this path, but Elias seems to me to be the evolution of adaptive game music. In this first article in a series on adaptive music, I will explore Elias and my first impressions of it.
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